By John Fletcher
In About Beckett Emeritus Professor John Fletcher has compiled an intensive and available quantity that explains why Beckett's paintings is so major and enduring. Professor Fletcher first met Beckett in 1961 and his e-book is crammed not just with insights into the paintings but additionally interviews with Beckett and first-hand tales and observations by means of those that helped to place his paintings at the degree, together with Dame Peggy Ashcroft, Roger Blin, Peter corridor, Max Wall and George Devine. As an advent to Beckett and his paintings, Professor Fletcher's publication is incomparable.
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Additional info for About Beckett. The Playwright and the Work
Astonishingly, we are within minutes only of the final curtain, of the unbearable poignancy of that last silence (‘Yes, let’s go. ]’ CDW, p. 88) on which the play ends. Beckett is one of the few dramatists to have adapted popular forms of entertainment, such as the circus (the clownery of the dropped trousers) and the music hall (Morecambe and Wise-type misunderstandings) in this example, to so-called ‘serious’ drama. His intention throughout is comic: it cannot be emphasized enough that Waiting for Godot is, properly performed, a very funny play.
The technical innovation made possible the frame that keeps painful real-life experience at the necessary emotional distance, so that few sensations are more poignant in the modern theatre than the sight of that dirty, drink-sodden old wreck listening forlornly to his earlier self asking rhetorically on the tape, ‘What remains of all that misery? ’, and offering with a bravado that conceals deeply felt regret the opinion that he was ‘well out of that, Jesus yes! Hopeless business’, and that he was right to break with a lover because ‘it was hopeless and no good going on’ (CDW, pp.
At one of the most sombre moments in the history of drama, at a time when all hope, even of easeful death, has evaporated – at that precise point the victim’s trousers concertina around his ankles. ‘Pull on your trousers,’ Estragon’s companion tells him. But even this is not the whole joke, because Estragon, in fine music-hall style, gets it all wrong. ’ he asks with comic oafishness. Astonishingly, we are within minutes only of the final curtain, of the unbearable poignancy of that last silence (‘Yes, let’s go.
About Beckett. The Playwright and the Work by John Fletcher